Drum tip MD Dec 2001, Drum tip
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//-->Weezer'sPatrick Wilsonby Ed BreckenfeldThe king nerds of punk/pop are back with their first album in five years.Weezer(called"the green album" by fans) contains ten two- to three-minute pop tunes that recall the bighits of the band's first CD. Gone is the loose, raw approach to the drum tracks used onWeezer's last release,Pinkerton.Instead, Patrick Wilson's drumming here is as direct, eco-nomical, and energetic as the songs themselves."Don't Let Go"Here's a cool little chorus setup coming out of the song's guitarsolo.Patrick then switches to a dance groove on the ride cymbal for thechorus."Crab"This song features several hi-hat/bass drum breakdowns, creat-ing tension and then releasing into long drum fills."Photograph"Patrick uses a classic surf-style beat on this one, updated by rid-ing on the crash cymbal."Simple Pages"Even short fills are infused with Patrick's personal style."Hash Pipe"The first single contains some of the best drumming on thealbum, including this Bonham-esque sequence from the pre-cho-ruses."Glorious Day"Another great short fill. Check out the bass drum note at the endof the measure. It serves as a pick-up to the next measure.P h r a s i n g With T h r e e s ln F o u rby John RileyBar Hoppinghave been finding new, fun, creative, challenging, and musicalways to expand the material in them. I'd like to share one of thoseideas with you.A cornerstone of hip musical phrasing involves taking singable ideas and repeatingthem in surprising, "bar hopping" ways. As an example, take the first comping ideafrom page 18 ofThe Art Of Bop Drumming(example 1 below). This is a two-measure,Charleston-type phrase. It should be played on the snare drum, along with the swingpattern on the ride cymbal, quarter notes on the bass drum, and 2 and 4 on the hi-hat.Since the publication of my two books,The Art Of BopDrummingandBeyond Bop Drumming,my students and IThe next step involves reorganizing this basic phrase into a hip four-bar phrase. We'll do this by taking the first three beats of the firstmeasure (the three-beat loop) and repeating them four times, then playing the second measure of the original phrase to complete thefour-bar idea. The resulting phrase has two critical elements of music: familiarity, yet surprise.Three-Beat Loop:Be sure to count in 4/4 while you feel the 3/4 comping phrase against it. Don't let your ride cymbal, bass drum, or hi-hat stray from theirprescribed duties.Here is the same treatment on the next phrase.Three-Beat Loop:The same concept can be applied to all the comping exercises in the book. Here's the first phrase from Comp 2, page 22:Three-Beat Loop:When you move to Comp 3, pages 26-27, your bass drum will stop feathering to play the written part.Three-Beat Loop:In Comp 4, pages 28-29, the bass drum plays the written part.Three-Beat Loop:As I mentioned, counting is critical. If you consistentlycount, you'll develop a feeling for this type of phrasing, andyou'll be able to "hear" how the phrases unfold over the four-bar structure. Also, experiment with moving some of thesnare notes onto the toms.Tony Williams, Jack DeJohnette, Bill Stewart, and manyothers create musical intrigue and excitement by deployingideas like those above. However, this material will be ofabsolutely no use to you if it throws off your flow through thetime. I recommend practicing with a metronome first. Then puton one of your favorite medium-tempo recordings and practicethese phrases while playing along. Good luck, and have fun.John Riley's career includes work with such artists as JohnScofield, Mike Stern, Woody Herman, and Stan Getz. He hasalso written two critically acclaimed books,The Art Of BopDrummingandBeyond Bop Drumming,published byManhattan Music."Everybody's Party"Transcribed by Jeremy BrownJayGullixsonBill Stewarthis month'sDrum Soloistfeatures the creative mind andtasteful touch of master jazz drummer Bill Stewart. Thisparticular solo is featured on guitar giants John Scofield andPat Metheny's 1993 teaming,I Can See Your House From Here(Blue Note).While there are a lot of fun points about this solo (Stewart'sbeautiful sound and delivery among them), probably the most interesting aspect hereis the drummer's use of phrasing. You can hear the "conversation" that he sets upwithin the framework of the solo, eventually building to a dense and fiery intensity.Another fine performance from Bill Stewart.T
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